MUSICAL COMPOSITION

Accent and quantity, 23, 24, 129-134, 143, 145, 146.MOSO, 146.Bach, J. S., 12, 50, 51, 52, 55, 67,145, 150, 188.B8.8II, ground, 56, 67, 68.Bass, importance of good, 21, 34,37,38,47, 50.Beethoven, L. van, 10, 12, 25,26-31, 37, 41-44, 52, 55, 57-63, 69, 77, 79-89, 101, 102,108, 110, 112, 116, 120, 122,124, 125, 146, 156, 158, 161,169, 171, 173, 177, 183, 186,188.variations analysed, 58-63.Bonata, Op. 31, No. I, Firstmovement analysed, 80-88.sketches, 41-44.Berlioz, H., 96, 99, 157-159, 173.Brahms, J., 2, 10, 12, 34, 50-52,55,63-69,122-125,137.Haydn variations analysed,64-69.BUlow, Hans G. von, 23, 96, 117,170.Buxtehude, 188.INDEXCanon and Fugue, 20-22.Choral writing, 50, 127, 147-153.Chromatics, use and abuse of,19, 44-48, 147, 151, 152.Climax, 38, 39, 110, 143, 177.Colour, 74, 95-126, 136.Counterpoint, strict, 3, 6-12, 50,115, 127; modal, 12-20, 147 ;so-called free, 10, 11.Cranmer, Archbishop, 138.Dance-forms, 47, 77, 91.Dannreuther, E., 158, 181.Double bass, treatment of the,105, 106, 108.Doubling, instrumental, 107, 111,114, 122, 142.DUrer, Albrecht, 42.Dunstable, John of, 142.Dussek, 157.Dvorak, Antonin, 77, 125, 188.Economy of material, 9, 20, 33,101, 108, 111, 138, 141, 163,172, 174.Endings of movements, 168-170.Equal temperament, 13, 17, 147.Expression, marks of, 117-119,153, 154, 167.Fantasies, or Fancies, 162, 163,Folk-songs, 141, 142.Form, 74-94.Franck, C6sar, 123.Gluck, Chr. von, 146, 158.'Grove, Sir George, 155.Handel, G. F., 12, 52, 133, 134,150.Harmony, 6-10, 21, 50, 83, 181,183.Comp8.8ll, vocal, 134, 135, 175;instrumental, 106. Hauptmann, Moritz, 23.191